Studio 01112018
The plan for today was to resume mono printing on the big glass.
I found myself cutting up old paintings into small pieces and pasting them on the large charcoal drawing that was already hanging on the wall.
The plan for tomorrow is to do mono printing.

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In my practice, I deal with a body in a state of conflict. This body is both physical and metaphorical.

From a personal, autobiographical perspective, I try to shed light and explore wider environments controlled by notions of loss and alienation. These subjects come to light through articulating struggles between movement and stillness- trying to capture fragmented moments where movement and stillness co-exist.

In my latest series; ‘The handkerchiefs’, I am depicting memories, then folding them back into themselves, transforming the 2 dimensional image into an actual object- a memento. Each handkerchief holds a memory of an actual physical place, depicted as I remember/ then re- remember it through the material, which restore and reinvent, a new narrative.

Parallel to my visual art practice, I am an active professional musician - I have released several albums of my music ;writing, composing, playing guitar & lead vocals(Glass horses 2016-2019,Echo-bench from 2009) and participated in many collaborations. My visual practice and my musical practice are connected. They are in an on-going dialog which creates new platforms and lines of investigations.

The term ‘distortion’ is a key element in both of my practices. By definition* (Cambridge dictionary), to distort- is to change the shape of something so that it looks strange or unnatural. The images in my works are distorted and twisted. They represent a lack of physical, spiritual and emotional perfection. The images are created from a meeting point between the material I work with and the idea I start from.

Half dream- partly reclaiming fragments of reality, her work evolves around stability and instability, the lack of control and an impossible desire to possess it.

 

Half dream half nightmare, the narratives and figures in the works travel into- and out of an unknown space, where the rules of gravity disintegrate.

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As a layered human being, as we all are, I’m confronted in my practice with issues relating to my gender identity, background, my current status as a European immigrant artist living in London. Painting and printmaking are the tools I use to relate to these issues and translate them into singular moments.

The core of my practice is a material process-I use materials to translate rhythms, textures, lights and sounds, articulating a daily, dynamic dialogue with the world around me.

In Aldous Huxley’s futuristic novel ‘Brave new world’ – a vision of a sterile programmed society, one of the main characters, Helmholtz - an emotional engineer, says” Words can be like X- rays, if you use them properly- they’ll go through anything”.

In order to find these specific words, I’m defining and containing intimate moments – which reflects on wider issues.

But there’s a frame and this is word number 149, TBC.

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Noga Shatz's practice connects esthetics with cultural charges, storytelling, apocalyptic visions and black humor.

In her recent works she combines different mediums and different processes within singular works

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Noga Shatz is a multidisciplinary artist. Her works include painting, printmaking and music.

Noga obtained her MFA degree at the Slade School of Fine Art, University College London. She has been awarded the 'Anthony Dawson Print Award', nominated for the 'Max Werner Drawing Prize' and was shortlisted for the 2018 Wells Art Contemporary. Her works are exhibited in the UK and worldwide including solo and group exhibitions such as the Royal Academy Summer Exhibition, Sunday Times Watercolor Competition, Artist proof print prize at the Neo print gallery and more.

 

At the core of her practice is a material process. Noga applies materials, translating rhythms, textures, lights and sounds into singular intimate moments of existence. One of the main techniques that she uses is Monotype printing.

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Syd Barrett – Baby Lemonade Lyrics

In the sad town
Cold iron hands clap
The party of clowns outside
Rain falls in gray far away
Please, please, Baby Lemonade

In the evening sun going down
When the earth streams in, in the morning
Send a cage through the post
Make your name like a ghost
Please, please, Baby Lemonade

I'm screaming, I met you this way
You're nice to me like ice
In the clock they sent through a washing machine
Come around, make it soon, so alone...
Please, please, Baby Lemonade

In the sad town
Cold iron hands clap
The party of clowns outside
Rain falls in gray far away
Please, please, Baby Lemonade

In the evening sun going down
When the earth streams in, in the morning
Send a cage through the post
Make your name like a ghost
Please, please, Baby Lemonade

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Monotype printing allows you to be fast, playful, direct, and spontaneous. It is a simple process to learn and has interesting and unique qualities. During her residency at GreatArt, Noga will be creating a new series of Monotype prints. The content of the works will be influenced by her immediate surroundings and the activity at the GreatArt store. She will be experimenting and testing new materials from the GreatArt supply, exploring new idea and methods through Monotype printmaking. During the sessions, visitors are invited to observe Noga’s work and talk to her about her work and Monotype printing technique.

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